EXPERIMENT IS A SIMULATION ON SETTINGS

Experiment is a simulation on settings.

Its a matter of perception, we cannot see/perceive mathematics

Aesthetic has a different logic than the mathematic

We don’t see the film, we only see the projection.

The artist has to be both a magician and a surgeon

Relation between shadow and movement
// The shadow does not move.

--the past is yet to come --

Fear of cancellation.

Big tension between theory and experiment

Impressions themselves they become actors

 

You have to work with probabilities. Intuitive work is very important -- you have to trust your intuition.

We have to decide what we want to remember

Pixelation films cannot be made anymore.

Film is to moderate space over time.

time + space
before > after

A Scattering Matrix

A 2nd original after several conversions.

The film exists only in the viewer

Heinz is the master of the unexpected.

I felt like Alice after falling down the rabbit hole.

 

The two enemies of theater/cinema are quest of absolute authenticity, and transitions of one’s character.

Gestures and facial expressions matter.
Woman in front of the camera is definitely (an) agent of the action.

Rhythm as subtext
Subtraction of the individual

Worked with playback and freed you (actor) from interpretation (or interpreting?)
The body must reject the role and not internalize it
By being present in the “movie space”, the objects (deserve) describe the space.
I wish I had lived there myself.
The audience is the audience, whether…

Watching her learning to do something.

 

Obvious difference between performing in theater and performing in cinema! (?)

The early experimentation came like this (archival) because of financial reasons.

Aesthetic narcissism.
Physically and mentally look at an image and try to make your body remake that image.
Level of Consciousness

I am a bit dissatisfied with film(making), at least the ones I made.

I don’t find a way to deal with it.

This is in the blurred area between documentary and fiction.
A matter of life or death.

Everyone is playing himself, apart from the lead actor and lead actress.

I am scared.

Now, I am more scared.

We build/lay a ground for us to walk on, and a roof to protect us.
The interest is in the process of making.

This is not my context

Directory of filmmaking in India gave the idea for some to place the addresses on a map and analyze land use.
We had to make (manufacture) special celluloid that works in our environment.
Based in the skepticism of calling something experimental cinema!
Avant-garde does not work with/in my country or my context.
I don’t think we are here to defend the works we have seen in the past two days, they can defend (for) themselves.

Experimental film = Theory

 

Well,

 

 

 

 

 

Very rarely a film would make an argument
Does theory has to be appropriate?
Philosophical toy.

Film picturing and deconstructing theory.

Digitizing …. film …  unique link to the …. past

Era of anticipation of digitization.

Susan Sontag wrote… after she died.

Intersection of film and identities

Baghdad Bahn Highway
Brotherhood and unity

Chronos

 

Why we want to communicate?

Why would people want to know?

 

If we want a larger audience we have to go the to TV

Television is part of the war machine!

I presume: you know what is democracy now!

We must remain disorganizedly organized.

“We look forward but not back”

 

 

Tensions: desire for autonomy & independence, sharing resources, and continuity

Ephemeral institutions

Experimental film is in itself an institution

Screening active graffiti on the walls

I decided to disappear from the present, in order to re-appear in the future.

How to create systems which enable identities that are meant to move forward.

Heart attacks, excitement, anxiety

But I do not appear in any of the pictures
Its very rare to find a film in which an Arab feels represented.

Tokensim

 


Appeal to aesthetic standards X

Do not fetishize difference.

Every transgression is a re-born genre

Surrealists would enter films at points they want and leave at points they want, thinking (as if) they are making the film.

The only definition for art is the definition created by the people who worked in the art world.
Response: but there are many art worlds.

When speaking of the “Art world”, we would be actually speaking of the high classes of the art world (successful and established artists, institutions, …) .

How to form one front.

 

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Composed of opinions and facts presented by the panelists in Think:Film, Third International Experimental Media Congress, organized by Arsenal and the Film Institute of the Berlin University of the Arts, 10-14.10.2012.
Panelists: Khalid Abdalla, Thom Andersen, Ronald Balczuweit, Madeleine Bernstorff, Christa Blümlinger, Arianna Borrelli, Pip Chodorov, Christoph Dreher, Madhusree Dutta, Tamer El-Said, Heinz Emigholz, John Erdman, Azin Feizabadi, Anselm Franke, Peggy Gale, John Greyson, Ed Halter, Nanna Heidenreich, Birgit Hein, Shai Heredia, Max Jorge Hinderer Cruz, Henriette Huldisch, Brent Klinkum, Gertrud Koch, Birgit Kohler, Stephen Kovats, David Marc, Laura Marks, Angela Melitopoulos, Thomas Morsch, Olga Moskatova, Wendelien van Oldenborgh, Winfried Pauleit, Laurence Rickels, Marc Ries, Stefan Ripplinger, Constanze Ruhm, Susanne Sachsse, Frieder Schlaich, Stefanie Schulte Strathaus, Marc Siegel, Michael Snow, Lisa Steele, Juan Suárez, Ela Troyano, Lioudmilla Voropai, Dorothee Wenner, Nicole Wolf, Klaus Wyborny, Ala Younis, Siegfried Zielinski and Mike Zryd.

> Think:Film on Arsenal's website

 

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